An examination of the successful studios established by John and James Perratt Nicholas and Albert Penn in Madras and Ootacamund. The majority of the photographs are published here for the first time. Also includes a copy of the scarce Nicholas & Co. 1881 catalogue listing over 450 subjects. 00The book begins with the early years of the Nicholas studios in Madras and Ootacamund, explains how the business achieved success in the 1870s and 1880s and concludes with the introduction of the Kodak, the rise of the amateur photographer, and the inevitable decline in the studios’ profitability that followed. 0.

During states of emergency, normal rules and rights are suspended, and force can often prevail. In these precarious intervals, when the human potential for violence can be released and rehearsed, images may also emerge. This book asks: what happens to art during a state of emergency? Investigating the uneasy relationship between aesthetics and political history, Emilia Terracciano traces a genealogy of modernism in colonial and postcolonial India; she explores catastrophic turning points in the history of twentieth-century India, via the art works which emerged from them. Art and Emergency reveals how the suspended, diagonal, fugitive lines of Nasreen Mohamedi's abstract compositions echo Partition's traumatic legacy; how the theatrical choreographies of Sunil Janah's photographs document desperate famine; and how Gaganendranath Tagore's lithographs respond to the wake of massacre. Making an innovative, important intervention into current debates on visual culture in South Asia, this book also furthers our understanding of the history of modernism.

This edited collection brings together new research by world-leading historians and anthropologists to examine the interaction between images of plague in different temporal and spatial contexts, and the imagination of the disease from the Middle Ages to today. The chapters in this book illuminate to what extent the image of plague has not simply reflected, but also impacted the way in which the disease is experienced in different historical periods. The book asks what is the contribution of the entanglement between epidemic image and imagination to the persistence of plague as a category of human suffering across so many centuries, in spite of profound shifts in our medical understanding of the disease. What is it that makes plague such a visually charismatic subject? And why is the medical, religious and lay imagination of plague so consistently determined by the visual register? In answering these questions, this volume takes the study of plague images beyond its usual, art-historical framework, so as to examine them and their relation to the imagination of plague from medical, historical, visual anthropological, and postcolonial perspectives.

A stereotypical view of the nineteenth-century British in India, which might be characterised as one of deliberate isolation and segregation from their surroundings, has recently been complemented by one evoking a high degree of integration and closer co-existence in the eighteenth century. Focusing on a period which straddles this apparent shift, this book explores a variety of ways in which British residents in India represented their lives through visual material, and reveals a more nuanced position. Consideration of these images, which have often been overlooked in the scholarly literature, opens up questions of identity facing the British population in India at this time and facing colonial societies more generally, and issues about the role of visual culture in negotiating them. It also underlines the fragile and contested nature of identity: the colonists’ self-fashioning encompassed not only expressions of difference from their Indian setting, but also what distinguished them from their compatriots back in Britain, as well as engaging with metropolitan attitudes towards, and prejudices about, them.

Bridging the fields of conservation, art history, and museum curating, this volume contains the principal papers from an international symposium titled "Historical Painting Techniques, Materials, and Studio Practice" at the University of Leiden in Amsterdam, Netherlands, from June 26 to 29, 1995. The symposium—designed for art historians, conservators, conservation scientists, and museum curators worldwide—was organized by the Department of Art History at the University of Leiden and the Art History Department of the Central Research Laboratory for Objects of Art and Science in Amsterdam. Twenty-five contributors representing museums and conservation institutions throughout the world provide recent research on historical painting techniques, including wall painting and polychrome sculpture. Topics cover the latest art historical research and scientific analyses of original techniques and materials, as well as historical sources, such as medieval treatises and descriptions of painting techniques in historical literature. Chapters include the painting methods of Rembrandt and Vermeer, Dutch 17th-century landscape painting, wall paintings in English churches, Chinese paintings on paper and canvas, and Tibetan thangkas. Color plates and black-and-white photographs illustrate works from the Middle Ages to the 20th century.

This collection of 24 essays explores what happens when proponents of writing across the curriculum (WAC) use the latest computer-mediated tools and techniques--including e-mail, asynchronous learning networks, MOOs, and the World Wide Web--to expand and enrich their teaching practices, especially the teaching of writing. Essays and their authors are: (1) "Using Computers to Expand the Role of Writing Centers" (Muriel Harris); (2) "Writing across the Curriculum Encounters Asynchronous Learning Networks" (Gail E. Hawisher and Michael A. Pemberton); (3) "Building a Writing-Intensive Multimedia Curriculum" (Mary E. Hocks and Daniele Bascelli); (4) "Communication across the Curriculum and Institutional Culture" (Mike Palmquist; Kate Kiefer; Donald E. Zimmerman); (5) "Creating a Community of Teachers and Tutors" (Joe Essid and Dona J. Hickey); (6) "From Case to Virtual Case: A Journey in Experiential Learning" (Peter M. Saunders); (7) "Composing Human-Computer Interfaces across the Curriculum in Engineering Schools" (Stuart A. Selber and Bill Karis); (8) "InterQuest: Designing a Communication-Intensive Web-Based Course" (Scott A. Chadwick and Jon Dorbolo); (9) "Teacher Training: A Blueprint for Action Using the World Wide Web" (Todd Taylor); (10) "Accommodation and Resistance on (the Color) Line: Black Writers Meet White Artists on the Internet" (Teresa M. Redd); (11) "International E-mail Debate" (Linda K. Shamoon); (12) "E-mail in an Interdisciplinary Context" (Dennis A. Lynch); (13) "Creativity, Collaboration, and Computers" (Margaret Portillo and Gail Summerskill Cummins); (14) "COllaboratory: MOOs, Museums, and Mentors" (Margit Misangyi Watts and Michael Bertsch); (15) "Weaving Guilford's Web" (Michael B. Strickland and Robert M. Whitnell); (16) "Pig Tales: Literature inside the Pen of Electronic Writing" (Katherine M. Fischer); (17) "E-Journals: Writing to Learn in the Literature Classroom" (Paula Gillespie); (18) "E-mailing Biology: Facing the Biochallenge" (Deborah M. Langsam and Kathleen Blake Yancey); (19) "Computer-Supported Collaboration in an Accounting Class" (Carol F. Venable and Gretchen N. Vik); (20) "Electronic Tools to Redesign a Marketing Course" (Randall S. Hansen); (21) Network Discussions for Teaching Western Civilization" (Maryanne Felter and Daniel F. Schultz); (22) "Math Learning through Electronic Journaling" (Robert Wolfe); (23) "Electronic Communities in Philosophy Classrooms" (Gary L. Hardcastle and Valerie Gray Hardcastle); and (24) "Electronic Conferencing in an Interdisciplinary Humanities Course" (Mary Ann Krajnik Crawford; Kathleen Geissler; M. Rini Hughes; Jeffrey Miller). A glossary and an index are included. (NKA)